Hacettepe University Faculty of Letters Department of English Language and Literature
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The Avarice and Ambition of William Benson’, the Georgian Group Journal, Vol
Anna Eavis, ‘The avarice and ambition of William Benson’, The Georgian Group Journal, Vol. XII, 2002, pp. 8–37 TEXT © THE AUTHORS 2002 THE AVARICE AND AMBITION OF WILLIAM BENSON ANNA EAVIS n his own lifetime William Benson’s moment of probably motivated by his desire to build a neo- Ifame came in January , as the subject of an Palladian parliament house. anonymous pamphlet: That Benson had any direct impact on the spread of neo-Palladian ideas other than his patronage of I do therefore with much contrition bewail my making Campbell through the Board of Works is, however, of contracts with deceitfulness of heart … my pride, unlikely. Howard Colvin’s comprehensive and my arrogance, my avarice and my ambition have been my downfall .. excoriating account of Benson’s surveyorship shows only too clearly that his pre-occupations were To us, however, he is also famous for building a financial and self-motivated, rather than aesthetic. precociously neo-Palladian house in , as well He did not publish on architecture, neo-Palladian or as infamous for his corrupt, incompetent and otherwise and, with the exception of Wilbury, consequently brief tenure as Surveyor-General of the appears to have left no significant buildings, either in King’s Works, which ended in his dismissal for a private or official capacity. This absence of a context deception of King and Government. Wilbury, whose for Wilbury makes the house even more startling; it elevation was claimed to be both Jonesian and appears to spring from nowhere and, as far as designed by Benson, and whose plan was based on Benson’s architectural output is concerned, to lead that of the Villa Poiana, is notable for apparently nowhere. -
Hawksmoor's Churches: Myth and Architecture in the Works of Iain Sinclair and Peter Ackroyd
Wenshan Review of Literature and Culture．Vol 5.2．June 2012．1-23. Hawksmoor's Churches: Myth and Architecture in the Works of Iain Sinclair and Peter Ackroyd Eva Yin-I Chen ABSTRACT The works of contemporary British writers Iain Sinclair and Peter Ackroyd demonstrate an intense preoccupation with the spatial symbols and ruins of London’s East End, which to them stand not just for the broken pieces of a vanishing past but also as symptoms of an underlying force of mythological and cultural significance, a force that collapses contemporary ideology and resists consecutive attempts at control and order. Of these, the Hawksmoor churches built by the architect Nickolas Hawksmoor after the 1666 London fire, some already demolished and others standing dark and brooding with looming spires and shadowy recesses, take on a particular preeminence. Both writers view the churches as forming an invisible geometry of lines of power in the cartography of the city, calling forth occult energies that point to the deeper, though half-erased and repressed truth of London. Sinclair’s early poetry collection Lud Heat first toys with this idea, and Ackroyd’s bestselling novel Hawksmoor popularizes it and enables it to reach a wider public. This paper investigates the spatial and mythological symbolism of the Hawksmoor churches as reflected in the works of the two writers, arguing that this recurrent spatial motif holds the key to understanding an important strand of contemporary British literature where architecture, textuality and London’s haunting past loom -
February/ March 2021
£1 Parish Magazine February/ March 2021 Chichester Road, Croydon www.stmatthew.org.uk Registered Charity No: 1132508 Services at St Matthew’s 1st Sunday 8.30 am Eucharist (Said) All other Sundays 10.00 am Parish Eucharist with Choir Tuesdays 9.00am Zoom Morning Prayer Meeting ID: 970 706 9858 Passcode: stmatts 1st Wednesday 10.00 am Holy Communion (Said) Please Note: Until further notice Services will be via our You Tube Channel and our website Baptisms, Weddings and Banns of Marriage By arrangement with the Vicar St Matthew’s Vision Sharing the Love of God The Vicar Writes… Dear Friend, “We’re all in this together” is an easy-to-say phrase that at one level may be true when applied to the crises we face, but at another level has a hollow ring when we consider the inequalities we are living with, as well as the random nature of the effect of Covid-19. Perhaps a more helpful way of looking at our current circumstances might be: “We are all in the same storm, but in different boats”. You may well have heard or seen this phrase already. I have certainly found it very helpful. Whatever it feels like at the moment in your particular “boat”, my prayer for you, as always, is that you will know the presence and the perfect peace of the God of love to be with you and in you, so that you will be able to cope with whatever storm you are in right now. The story of Jesus calming the storm (Matthew 8.23-27, Mark 4.35-41, Luke 8.22-25) is remarkable in a number of ways. -
Iain Sinclair and the Psychogeography of the Split City
ORBIT-OnlineRepository ofBirkbeckInstitutionalTheses Enabling Open Access to Birkbeck’s Research Degree output Iain Sinclair and the psychogeography of the split city https://eprints.bbk.ac.uk/id/eprint/40164/ Version: Full Version Citation: Downing, Henderson (2015) Iain Sinclair and the psychogeog- raphy of the split city. [Thesis] (Unpublished) c 2020 The Author(s) All material available through ORBIT is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email 1 IAIN SINCLAIR AND THE PSYCHOGEOGRAPHY OF THE SPLIT CITY Henderson Downing Birkbeck, University of London PhD 2015 2 I, Henderson Downing, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 3 Abstract Iain Sinclair’s London is a labyrinthine city split by multiple forces deliriously replicated in the complexity and contradiction of his own hybrid texts. Sinclair played an integral role in the ‘psychogeographical turn’ of the 1990s, imaginatively mapping the secret histories and occulted alignments of urban space in a series of works that drift between the subject of topography and the topic of subjectivity. In the wake of Sinclair’s continued association with the spatial and textual practices from which such speculative theses derive, the trajectory of this variant psychogeography appears to swerve away from the revolutionary impulses of its initial formation within the radical milieu of the Lettrist International and Situationist International in 1950s Paris towards a more literary phenomenon. From this perspective, the return of psychogeography has been equated with a loss of political ambition within fin de millennium literature. -
Beckett and His Biographer: an Interview with James Knowlson José Francisco Fernández (Almería, Spain)
The European English Messenger, 15.2 (2006) Beckett and His Biographer: An Interview with James Knowlson José Francisco Fernández (Almería, Spain) James Knowlson is Emeritus Professor of French at the University of Reading. He is also the founder of the International Beckett Foundation (previously the Beckett Archive) at Reading, and he has written extensively on the great Irish author. He began his monumental biography, Damned to Fame:The Life of Samuel Beckett (London: Bloomsbury, 1996) when Beckett was still alive, and he relied on the Nobel Prize winner’s active cooperation in the last months of his life. His book is widely acknowledged as the most accurate source of information on Beckett’s life, and can only be compared to Richard Ellmann’s magnificent biography of James Joyce. James Knowlson was interviewed in Tallahassee (Florida) on 11 February 2006, during the International Symposium “Beckett at 100: New Perspectives” held in that city under the sponsorship of Florida State University. I should like to express my gratitude to Professor Knowlson for giving me some of his time when he was most in demand to give interviews in the year of Beckett’s centennial celebrations. José Francisco Fernández JFF: Yours was the only biography on or even a reply to the earlier biography of authorised by Beckett. That must have been Deirdre Bair. It needs to stand on its own two a great responsibility. Did it represent at any feet. And I read with great fascination the time a burden? Knowing that what you wrote biography of Deirdre Bair and have never said would be taken as ‘the truth’. -
The Return of the Historical Novel ? Metafiction
andrew james johnston johnston · wiegandt johnston kai wiegandt Editors The Return of the Historical Thinking Novel ? (Eds.) About Fiction and History johnston · wiegandt (Eds.) After Historiographic The Return of the Historical Novel ? Metafiction ntil recently, the critical reception of historical fiction was dominated by two theoretical paradigms: György Lukács’s Marxist view and Linda Hutcheon’s concept of ‘historiographic of the Historical Novel The Return metafiction’. We are now entering a new phase as the discussion of the historical novel is rapidly becoming more inclusive, more tolerant and, above all, more diverse. It is before the backdrop of these changes in the critical debate that the contributions to this volume are meant to be read. Rather than seeing historical fiction as locked in a clear-cut scheme of teleological succession or assigning to the historical novel specific aesthetic purposes, the articles in this collection seek to probe deeply into the his- torical novel’s potential for providing readers not simply with an understanding of how the image of the past is constructed but also of how attempts to chart forms of historical otherness constitute a specific mode of cultural experience mediated by literature. This desire for a literary experience of historical ? otherness has recently increased in urgency, even if the histori- cal authenticity one might nostalgically associate with such a project must always elude us. Authors discussed include Walter Scott, John Fowles, Graham Swift, M. J. Vassanji, J. M. Coetzee, Peter Ackroyd, Alan Massie, Julian Barnes, Ian McEwan, Hilary Mantel and Jim Crace. Universitätsverlag winter isbn 978-3-8253-6721-3 Heidelberg britannica et americana Dritte Folge · Band 33 herausgegeben von wolfram r. -
The Impossibility of Achieving Self-Knowledge in the Novels of Graham Swift
THE IMPOSSIBILITY OF ACHIEVING SELF-KNOWLEDGE IN THE NOVELS OF GRAHAM SWIFT KATHERINE COTTIER FOR MUM AND DAD 2 ACKNOWLEDGEMENTS An enormous thank-you to my parents for all their years of support, love and encouragement - and especially for listening to all that 'arty stuff'. Thank-you to Dr Jim Acheson, my supervisor, for his invaluable patience, words of wisdom and belief in me. My gratitude also to Professor David Gunby for his care and quiet guidance during my Honours and under graduate years. Thank-you to Grandma for her letters 'with something extra' and for reading me fairy tales. Thank-you to my brothers Sam and Luke for their office visits and coffee breaks. An extra special thanks to Jack Charters and Diana Cameron for welcoming me so readily into their homes. Dan, Miles, Dave, Suzanne, Phil, Jen-Jen, Karl, Katy and Sue - thank you for your unfailing interest and encouragement. 3 CONTENTS Preface 6 Chapter One: Part I - Psychoanalytic Narration in Water/and 10 Part II - Swift's Use of Autobiography in Shuttlecock and Ever After 25 Chapter Two: Circularity in the Novels of Graham Swift: Water/and and Last Orders 52 Chapter Three: Swift's Use of the Fairy Tale in Water/and, Ever After and Out of This World 87 Works Cited 135 4 ABBREVIATIONS EA - Swift, Graham. Ever After. London: Picador, 1992. LO - . Last Orders. London: Picador, 1996. OTW - . Out of This World. London: Penguin Books, 1988 S - . Shuttlecock. Middlesex: Penguin Books, 1981. W - Water/and. New York: Washington Square Press, 1985. 5 PREFACE ' 6 In each of his novels Graham Swift provides a kind of prototype for the reader: that of a black, coiled, twisting spiral. -
IED693-793.Pdf
1 Hacettepe University Faculty of Letters Department of English Language and Literature SYLLABUS IED 693/793 CONTEMPORARY ENGLISH NOVEL Title of the Course: IED 6/793 Contemporary English Novel Instructor: Prof. Dr. SERPIL OPPERMANN Year and Term: Spring 2015 Classroom and Hours: Seminar Room, Tuesday 13:00-16:50 Office Hours: Aim and Content: The aim of this course is to study in depth the main developments in the English novel from the 1950s on to the present. Different literary trends, changing social and cultural climate of the times and the technical and thematic concerns will be discussed during the class. The focus will be mainly on the postmodern fictions, and thus concepts relating to postmodern novels, such as self-reflexivity, self-consciousness, intertextuality, parody and pastiche, irony, play, process, indeterminacy, textuality and fictionality, etc., will be discussed in our interpretation of the novels. The course aims to introduce postmodern approaches to representation and history, the problematic relationship of life and fiction, the parodoxes of fictive and the real, the uses of ex-centric characters and narrators, the decentered view of the contemporary life, subversion of traditional modes of writing, and the challenging of the metanarratives. It also aims to introduce the emerging genre of cli-fi (a new genre of novel) or climate fictions and discuss the problematic issue of representing the anthropogenic climate change and environmental transformations in the age of the Anthropocene. We will analyze climate fictions -
Psychogeography in Alan Moore's from Hell
English History as Jack the Ripper Tells It: Psychogeography in Alan Moore’s From Hell Ann Tso (McMaster University, Canada) The Literary London Journal, Volume 15 Number 1 (Spring 2018) Abstract: Psychogeography is a visionary, speculative way of knowing. From Hell (2006), I argue, is a work of psychogeography, whereby Alan Moore re-imagines Jack the Ripper in tandem with nineteenth-century London. Moore here portrays the Ripper as a psychogeographer who thinks and speaks in a mystical fashion: as psychogeographer, Gull the Ripper envisions a divine and as such sacrosanct Englishness, but Moore, assuming the Ripper’s perspective, parodies and so subverts it. In the Ripper’s voice, Moore emphasises that psychogeography is personal rather than universal; Moore needs only to foreground the Ripper’s idiosyncrasies as an individual to disassemble the Grand Narrative of English heritage. Keywords: Alan Moore, From Hell, Jack the Ripper, Psychogeography, Englishness and Heritage ‘Hyper-visual’, ‘hyper-descriptive’—‘graphic’, in a word, the graphic novel is a medium to overwhelm the senses (see Di Liddo 2009: 17). Alan Moore’s From Hell confounds our sense of time, even, in that it conjures up a nineteenth-century London that has the cultural ambience of the eighteenth century. The author in question is wont to include ‘visual quotations’ (Di Liddo 2009: 450) of eighteenth- century cultural artifacts such as William Hogarth’s The Reward of Cruelty (see From Hell, Chapter Nine). His anti-hero, Jack the Ripper, is also one to flaunt his erudition in matters of the long eighteenth century, from its literati—William Blake, Alexander Pope, and Daniel Defoe—to its architectural ideal, which the works of Nicholas Hawksmoor supposedly exemplify. -
A History of English Literature MICHAEL ALEXANDER
A History of English Literature MICHAEL ALEXANDER [p. iv] © Michael Alexander 2000 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No paragraph of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, 90 Tottenham Court Road, London W 1 P 0LP. Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The author has asserted his right to be identified as the author of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2000 by MACMILLAN PRESS LTD Houndmills, Basingstoke, Hampshire RG21 6XS and London Companies and representatives throughout the world ISBN 0-333-91397-3 hardcover ISBN 0-333-67226-7 paperback A catalogue record for this book is available from the British Library. This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. 10 9 8 7 6 5 4 3 2 1 09 08 07 06 05 04 03 02 O1 00 Typeset by Footnote Graphics, Warminster, Wilts Printed in Great Britain by Antony Rowe Ltd, Chippenham, Wilts [p. v] Contents Acknowledgements The harvest of literacy Preface Further reading Abbreviations 2 Middle English Literature: 1066-1500 Introduction The new writing Literary history Handwriting -
Violence and Dystopia
Violence and Dystopia Violence and Dystopia: Mimesis and Sacrifice in Contemporary Western Dystopian Narratives By Daniel Cojocaru Violence and Dystopia: Mimesis and Sacrifice in Contemporary Western Dystopian Narratives By Daniel Cojocaru This book first published 2015 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2015 by Daniel Cojocaru All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-7613-5 ISBN (13): 978-1-4438-7613-1 For my daughter, and in loving memory of my father (1949 – 1991) TABLE OF CONTENTS Acknowledgements .................................................................................... ix Chapter One ................................................................................................. 1 Introduction 1.1 Modern Dystopia ............................................................................. 1 1.2 René Girard’s Mimetic Theory ...................................................... 10 1.2.1 Imitative Desire ..................................................................... 10 1.2.2 Violence and the Sacred ........................................................ 16 1.2.3 Girard and the Bible ............................................................. -
The Literary London Journal
The Literary London Journal Review Laura Colombino, Spatial Politics in Contemporary London Literature: Writing Architecture and the Body, Hardback, 200 pages, London: Routledge, 2013. ISBN: 978-0-415-62480-0 £80. Reviewed by Michael Perfect (University of Cambridge, UK) The Literary London Journal, Volume 10 Number 2 (Autumn 2013) <1>In Spatial Politics in Contemporary London Literature Laura Colombino explores interactions and intersections between urban space(s) and the body in London-based works by J. G. Ballard, Peter Ackroyd, Geoff Dyer, Michael Bracewell, Michael Moorcock, Iain Sinclair, Geoff Ryman, Tom McCarthy and Zadie Smith. The goal that this ambitious and insightful study sets itself is that of ‘map[ping] the relationship of body, architecture and spatial politics in contemporary creative prose on the city’ (i). <2>While it might be said that Colombino’s selection of authors and texts isn't particularly adventurous – many of the above-named are now well established as the ‘usual suspects’ of contemporary literary London studies – her methodological approach certainly is adventurous. In recent times it has become almost compulsory for book- length analyses of contemporary literature to claim – often rather dubiously – to be ‘interdisciplinary’ in scope and/or approach, but there is a genuine and highly engaging interdisciplinarity to this study, which – while primarily a work of literary criticism – variously takes in and engages with architectural theory, urban studies, psychogeography, anthropology, sociology and – that most abstract of spaces – ‘theory’ in its broadest sense. The result is a unique and insightful monograph which succeeds in offering fresh perspectives not only on a selection of postwar British writers (the majority of whom have, as above, already been worked on extensively) but also, even more impressively, on conceptions of space, the body and contemporary literature more broadly.